I always run into a lot of problems when I mix light sources but yours looks really balanced. Obviously you went with a really green-tinted grade, but from what I can see the window is not overly blue and everything else is not overly yellow.

Did you gel the window with CTO or do anything in the grade to get it all looking correct? Did the shot just lend itself to the mixed lighting because only the skin tones were lit up with tungsten..? Just curious - as many of us know it's quite a tricky shot when you're lighting with tungsten and also have daylight coming in the window. Thanks for sharing!

Hi. You image looks great. Can you please point me to where I can find an explanation of how I can create my own LUT for resolve, and/or how to modify an existing resolve LUT. I am not happy with the way the Resolve LUT for BMCC PreRes Log footage clips highlight information and makes it irretrievable.

Stefan Markworth wrote:Hi. You image looks great. Can you please point me to where I can find an explanation of how I can create my own LUT for resolve, and/or how to modify an existing resolve LUT. I am not happy with the way the Resolve LUT for BMCC PreRes Log footage clips highlight information and makes it irretrievable.

Thanks,Stafan

Simply create your own color correction in resolve and export it as a 3dLUT, Well there's more to it than that, but it is pretty simple.

I always run into a lot of problems when I mix light sources but yours looks really balanced. Obviously you went with a really green-tinted grade, but from what I can see the window is not overly blue and everything else is not overly yellow.

Did you gel the window with CTO or do anything in the grade to get it all looking correct? Did the shot just lend itself to the mixed lighting because only the skin tones were lit up with tungsten..? Just curious - as many of us know it's quite a tricky shot when you're lighting with tungsten and also have daylight coming in the window. Thanks for sharing!

It's not a green tint grade, the walls actually are greenish, and yeah, some careful dialing in the colors.

No gels at all. Non of the light you see on their faces, hair, shoulders, is really coming from the window, it's my lighting.

Some of the "magic" of this shot, is a trick I learned from Dion Bebee (he did a lot of this in Gangster Squad). A frosted 110w flolight on the floor as fill. It's still a bit harsh, as you can see at the shadow of the collar on his neck. If I would do this again, I would bounce a 650w HMI on the floor to make it more organic and softer.

Camera was the EF with a cheapo EF-Nikon adapter from Ebay called "Kiwi". Shot at 25p, 800iso, Heliopan IR filter and Genus Eclipse variND, dialed down to a hair under 100% zebras.

Frank Glencairn wrote:It's still experimental and not where I want it, but when I nail it, I gonna make it available for you guys.

I've never made a custom lut before. just wondering: what's missing/off/meh about this grade that says to you "I didn't nail it"? to me, it looks great, but the worst critic is the creator - asking so I have some insight behind this process.

I always run into a lot of problems when I mix light sources but yours looks really balanced. Obviously you went with a really green-tinted grade, but from what I can see the window is not overly blue and everything else is not overly yellow.

Did you gel the window with CTO or do anything in the grade to get it all looking correct? Did the shot just lend itself to the mixed lighting because only the skin tones were lit up with tungsten..? Just curious - as many of us know it's quite a tricky shot when you're lighting with tungsten and also have daylight coming in the window. Thanks for sharing!

It's not a green tint grade, the walls actually are greenish, and yeah, some careful dialing in the colors.

No gels at all. Non of the light you see on their faces, hair, shoulders, is really coming from the window, it's my lighting.

Some of the "magic" of this shot, is a trick I learned from Dion Bebee (he did a lot of this in Gangster Squad). A frosted 110w flolight on the floor as fill. It's still a bit harsh, as you can see at the shadow of the collar on his neck. If I would do this again, I would bounce a 650w HMI on the floor to make it more organic and softer.

Camera was the EF with a cheapo EF-Nikon adapter from Ebay called "Kiwi". Shot at 25p, 800iso, Heliopan IR filter and Genus Eclipse variND, dialed down to a hair under 100% zebras.

Love your work Frank, you are such an inspiration!And your honesty is contagious!Thank you.

paulkosmala wrote:I've never made a custom lut before. just wondering: what's missing/off/meh about this grade that says to you "I didn't nail it"? to me, it looks great, but the worst critic is the creator - asking so I have some insight behind this process.

A LUT must work on any footage you throw at it - that's the secret sauce.What I try to do with this one, is unifying skin tones. That's pretty tricky, cause they are so different, and what works on material A doesn't quite work on material B yet. So it needs some more tweaking, as soon as I have more time on my hands. Right now I'm to busy shooting stuff (which is not the worst thing, since most of it is payed jobs).

Darryl Gregory wrote:Love your work Frank, you are such an inspiration!And your honesty is contagious!Thank you.

Hey.. cool shot Frank.. did you shoot wide open (which would be strange as both actors are sharp) or got really really close with the flolights and the household bulb? 110watt doesn't sound much to me.. or did you come with both from on direction which would be 220watt of flolight?Is it true what they say that it has a green cast similar to the LED-Panels..?

AndiDieMaus wrote:Hey.. cool shot Frank.. did you shoot wide open (which would be strange as both actors are sharp) or got really really close with the flolights and the household bulb? 110watt doesn't sound much to me.. or did you come with both from on direction which would be 220watt of flolight?Is it true what they say that it has a green cast similar to the LED-Panels..?

Was about f3 or so - 110w of flourecent is like 250w of tungsten. I use Osram DULUX daylight bulbs, they have no cast and a higher CRI at skintones than Kino bulbs, so no minus green gels needed.

Stefan Markworth wrote:I am not happy with the way the Resolve LUT for BMCC PreRes Log footage clips highlight information and makes it irretrievable.

If you use any LUT in a node and the data clips in the LUT, you can't recover the data in nodes 'downstream' of that LUT node, but you can 'recover' the data by adjusting in a node prior to the LUT node so that the LUT doesn't blow highlights etc.

You can also try the LUT in my sig, as it may suit your tastes more (or not).

http://www.captainhook.co.nz/blackmagic-cinema-camera-lut/

**Any post by me prior to Aug 2014 was before i started working for Blackmagic**

Cheapo Kiwi brand Nikon to EF adapter. Focuses to infinity just fine.I have an other Vivitar Zoom with Olympus mount, so I have to use an adapter (Olympus to EF) with lens in it, looks pretty crappy. Gonna get me a Olympus to MFT adapter, that doesn't need the lens.

That really is a nice shot. Where exactly is the edge light placed? It looks like it's coming from outside but you mentioned none of the light on them is actually from the sun outside. If it's on the left side of the doorway wall (or is that a window), that angle looks too far over and it seems like the edge light would wrap more around their faces toward us.

Frank Glencairn wrote:Cheapo Kiwi brand Nikon to EF adapter. Focuses to infinity just fine.I have an other Vivitar Zoom with Olympus mount, so I have to use an adapter (Olympus to EF) with lens in it, looks pretty crappy. Gonna get me a Olympus to MFT adapter, that doesn't need the lens.

PaulDelVecchio wrote:That really is a nice shot. Where exactly is the edge light placed? It looks like it's coming from outside but you mentioned none of the light on them is actually from the sun outside. If it's on the left side of the doorway wall (or is that a window), that angle looks too far over and it seems like the edge light would wrap more around their faces toward us.!

It's on the left corner of the room, just a hair out of sight of the camera. almost touching the ceiling and flagged pretty tights so it's more a streak of light.

Hi FrankCheers ,, couldn't tell you on that one as i've haven't used the 1.7 contax versionthough i wouldn't advocate the t 50 as some find it too soft at 1.4 .... i don't mind it at 1.4i find softer lens work best on the BMC 2.5k version to minimize the chrominance moire .after using all other moire reducing tricks